Hannelie Coetzee (South African) - Hyena Clan V (ink and rooibos tea on paper, 2023, Eco Queer Creature Series)
I'd rather be in outer space đž
$LAYYYTER

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tannertan36

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will byers stan first human second

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@be-a-cute-scientist
Hannelie Coetzee (South African) - Hyena Clan V (ink and rooibos tea on paper, 2023, Eco Queer Creature Series)
im a simple man i like when things are shaped like other things. stool shaped like a mushroom. pillows shaped like fruit. salt and pepper shaker shaped like two friends hugging. in my ideal world i will have a house stocked entirely with novelty objects shaped like other objects and it will be beautiful.
hot take in a roundabout way i think that's also why so many of us opt out of becoming parents ourselves
Does anybody know how to fix it
Start disappointing people and not backing out of it when they are upset, reject feeling ashamed of everything including of yourself, start saying No to things you do not want to do not just things you're scared of, do more of those things you're scared of but wish you could do, make your own plans and execute them, decide to do or not do something without basing it on who will Dislike it.
Free Will takes practice, and the chance of making someone somewhere Slightly or even Very Disappointed In You. But you're an adult and you can't be made to stand in a corner anymore.
Amazing moments in Dads: my friendâs dadâs critique of Frankenstein was, âI just donât think the author had read science fiction before.â
he's right but at what cost
Calvin and Hobbes - Itâs July Already
I mean, in some very interesting Technically Correct ways, they didn't actually die? Now, they're very much no longer alive. But the forces involved are such that they didn't get any of the usual cellular processes of death, they simply went from biology to physics in less time than it takes a signal to travel down your optic nerve.
"Went from biology to physics" is the fellow-traveller of "upon stepping on the mine, he became not history so much as geography"
How is your takeaway from this "oh no! They are banning asexuality!" They are banning being LGBTQIA+. They are just using a modern woke version of the acronym to define who they persecute. De facto they will only go after asexual people that go to pride parades or start advocacy groups or something. They're not gonna arrest you for not filling your sex quota lol
Iâm going to respond to this with the assumption this was NOT!! originally posted with bad intent, but weâll see if I can keep up that line of thinking.
Firstly, the OP of the tweet just happened to cut off the name of the subreddit this was posted to. Turns out it was posted to r/Asexual. You know. The subreddit dedicated to talking about asexuality and related things. It makes sense that the original poster and a mod of that very subreddit would emphasize the inclusion of asexuality in Nigerâs article 25.
Hereâs a link to the actual Reddit post btw
Secondly, while all persecution of queer identities is evil and unjust, it is significant to point out asexuality being included. Most of the time laws donât go into specifying more than gay or trans identities when it comes to trying to bar rights to individuals. This article has go so far to break down and specify the meaning of every single letter in LGBTQIA and call them all an âact against natureâ to justify punishing anyone under the banner. It makes sense to, again, emphasize that asexuality was also included when this was posted in the r/Asexual subreddit.
And thirdly, and this is kinda the most important part imo, this means ANYONE CAN BE ACCUSED AND PERSECUTED UNDER THIS CHARTER. People in the subreddit and even the OP of the tweet are asking âhow can you even prove that?â And thatâs the thing. You canât. So it makes it that much easier to just accuse someone of asexuality in order to force them into a heterosexual relationship or punish them.
Think about it. Whatâs stopping a bitter ex or an abusive spouse from accusing their partner of âdenying sex due to their asexual tendenciesâ in order to punish them? Maybe someone is career driven or just not interested in a relationship at the time. Whatâs stopping a business rival, a jilted flirt, or an obsessed stalker from leaving an anonymous tip that the object of their ire is an asexual deviant? Absolutely nothing.
Taking this post and dismissing it as âno one cares you donât want to fuckâ is completely missing the point on why this is exceptionally dangerous. And acting like a mod of the r/Asexual subreddit is being silly for putting emphasis on the dangers to their community is rude at best.
The fact that everyone with a queer identity now can face prison time and ridiculous fines is terrifying and it breaks my heart to know more and more countries are baking these laws into their charters and constitutions. But we should be bringing these things into the light and condemning the people pushing for this kind of cruelty, not throwing stones at each other for pointing out a specific part of the article that affects us personally.
Uplift your fellow queers. Donât do the CIAâs job for them and try to tear our community apart with useless infighting.
i feel like i'm losing my mind trying to care for my parents from abroad why does my mom freak out and yell at me every time i'm trying to clean up her mess on the phone and find the medication that she loses literally every week that my dad needs to stay alive long enough to get a heart valve replacement!!!!
would you put a discarded fruit sticker on my forehead in whimsical jest yes or no
reblog to put a discarded fruit sticker on the forehead of the person you reblogged from in whimsical jest
Illustration from a 1941 advertisement
Tell the truth.
Why are y'all single?
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papersâand every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed itâher husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"âessentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official historiesâthose same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gageâa 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structureâcredit went to Watson and Crick.
Lise Meitner, who explained nuclear fissionâomitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomesâreceived little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogenâinitially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.
She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.
Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesnât sign autographs. She signs a timesheet.
Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. Sheâll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.
The record label will never put her name on the album.
Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crewâelite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.
The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldnât read a chart and nail the take in two tries, you didnât get called for the next session.
Carol could do it on the first try.
She started playing guitar in grimy bars at fourteen because her family couldnât pay the electric bill. Music wasnât a romantic dream for her. It was survival. It was a jobâfactory work with better acoustics and lower pay.
But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.
That descending bass line that drives the Beach Boysâ âWouldnât It Be Niceâ? Carol Kaye. The propulsive groove of âThese Boots Are Made for Walkinââ? Carol Kaye. The acoustic-guitar intro to âLa Bambaâ? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.
She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.
Bassists spent yearsâdecadesâtrying to crack the secret of the Beach Boysâ gear to get that sound. They were studying the wrong people. They should have been studying Carol.
She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When âYouâve Lost That Lovinâ Feelinââ hit number one, Carol was already back in a studio cutting a soap jingle.
The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didnât fit the rebellious-youth image they were selling. So they simply left her name off the album credits.
For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musiciansâ anonymity betrayed them.
Think about it. Every time you heard âGood Vibrations,â âRiver Deep â Mountain High,â the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generationâs youth.
And yet the records still say nothing. Sheâs now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.
But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the âBeach Boysâ were, in fact, Carol Kayeâs.
Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.
And the world didnât know her name.
She was admitted to the Rock & Roll Hall of Fame in 2025 but refused, fuck yeah, Carol. Her official website is incredible.
oh. I didnt realize "anti psych" meant, like, deconstructing the social hegemony of psychiatry. I said I was anti psyche because I believe in systematically destroying the soul